In brief
From November 8 to 28, the "Forever Is Now" exhibition turns the desert near the pyramids into an open‑air gallery, inviting the world to witness contemporary installations that echo Egypt’s ancient past. Artists such as Jiang Qiong Er, Seckin Pirim and Emad Abu Grain bring steel, limestone and stone into dialogue with timeless monuments, while organizers Art D'Egypte highlight cultural memory and cross‑cultural dialogue. Questions linger on how these modern expressions resonate with visitors and whether they spark new interpretations of Egypt’s heritage.
On Sunday, the Giza Plateau opened its doors to the world as the sixth edition of the "Forever Is Now" international contemporary art exhibition began, running from November 8th to 28th under the stewardship of the Egyptian multidisciplinary arts firm Art D'Egypte.
Designed as an open‑air gallery, the event showcases contemporary artists from around the globe who seek to converse with the ancient pyramids, exploring the passage of time, cultural memory and the enduring influence of these stone monoliths in steel, stone and vivid color.
Among the newcomers is French‑Chinese artist Jiang Qiong Er, whose installation "It Is Time to Plant Love" comprises 12 towering, gold‑colored guardian figures made of stainless steel and fiberglass. The figures symbolize shared values such as peace, freedom, equality and wisdom, and reflect Jiang’s intention to find common ground at a time when many artists pursue differences. In the words of the artist, as reported by Xinhua, “I am truly seeking common ground.”
Jiang’s presence is especially meaningful as this year marks the 70th anniversary of diplomatic relations between Egypt and China. She noted that "Art cannot resolve conflicts, but it can at least open a window, open a door; allowing us to engage in dialogue, to try to understand one another, and to walk together into our shared space," according to the same interview.
Founder of Art D'Egypte, Nadine Abdel Ghaffar, underscored that Jiang’s participation signals the exhibition’s first collaboration with a Chinese artist. "Beyond its artistic displays, the exhibition offers an opportunity to showcase both ancient and modern Egypt," Abdel Ghaffar said, adding that the open access invites school and university groups each year, reinforcing the notion that art should not be limited to collectors.
Turkish sculptor Seckin Pirim contributes the piece "The King’s Road," where limestone columns evoke the ruins of antiquity while adopting distinctly contemporary forms. Pirim explained that he envisioned the installation as a gate and portal opening from the present toward the pyramids, a metaphor for connecting past and present.
Egyptian visual artist Emad Abu Grain presents "Talisman of Salvation," an arrangement of six carved stone blocks and rope that draws on ancient Egyptian motifs, according to Xinhua’s brief description.
Art D'Egypte, the organizing body, frames the event as a platform for cross‑cultural dialogue that lets visitors experience Egypt’s 7,000‑year‑old civilization alongside contemporary artistic expression. While the exhibition encourages interaction with the site’s historic significance, questions remain about how modern installations, especially those incorporating industrial materials like stainless steel, affect the perception of the delicate limestone structures they surround.
Critics and cultural analysts point to the potential for contemporary art to both honor and challenge the narrative of Egypt’s heritage. Some worry that the overt display of modern materials near ancient relics could spark debates on conservation versus artistic freedom, while others argue that such juxtapositions foster new interpretations and broaden the appeal of Egypt to a global audience.
As the exhibition progresses toward its concluding date on November 28th, visitors, scholars, and artists alike will continue to reflect on the dialogue that emerges between the eternal monuments and the fleeting nature of contemporary artistic expression. The "Forever Is Now" event raises the open question: in what ways will this living conversation reshape future collaborations, public engagement with Egypt’s heritage, and the role of contemporary art in bridging the past and the present?
